Thế Trụ Pagoda (Khánh Hưng Temple)
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Introduction
Thế Trụ Pagoda (Khánh Hưng Temple) was ranked at City level under Decision No. 844/QĐ-UBND dated 25/02/2026 of the Hà Nội City People's Committee
Story
011. Historical events and figures
Thế Trụ Pagoda (Khánh Hưng Temple) worships Buddha according to the Mahayana sect. Based on books such as: 越 南 佛 教 史 論 (Việt Nam Phật giáo sử luận) by Nguyễn Lang, 越 南 佛 教 使 畧 (Việt Nam Phật giáo sử lược) by the late Venerable Thích Mật Thể, as well as sutras, books, and Buddhist histories, the life story of Shakyamuni Buddha and the introduction of Buddhism into Vietnam can be summarized as follows:
2,560 years ago (according to the Buddhist calendar), in the city-state of Kapilavastu there was a king named Suddhodana, and Queen Mahamaya gave birth to a prince named Siddhartha in Lumbini Garden. At birth, he was inherently intelligent, with radiant aura and extraordinary noble marks. The king and queen were overjoyed.
At the age of seven, he studied under the Brahmin school, became thoroughly versed in debate and philosophy, and began to grow weary of a life of glory and wealth and to grieve for the human condition.
At the age of 16, he obeyed his father the king and married three consorts, La Gia, Gia Du Đà La, and Lộc Giả, and had a noble son named Rahula.
At the age of 19, arising from compassion, empathy, joy, and equanimity, he understood that the four sufferings of human life cannot be escaped: birth, aging, sickness, and death. Therefore, he resolved to leave the golden palace and crimson towers, the red-lacquered phoenix chambers, to go in search of truth and to explain the law of human life.
He entered mountain caves and endured hunger and cold in practice in order to find a method to save people from the cycle of suffering in the ascetic forest. During six years of practice, he attained no fruit of the path, so he went to Elephant Head Mountain by the Niranjana River to bathe. After bathing, he accepted a bowl of milk from several maidens and then sat alone in meditation and reflection under the Bodhi tree.
After 49 days of concentrated contemplation, he suddenly saw his mind become clear, perceived all things in the universe clearly, and understood the cause of birth and death. He became a Buddha and took the title Shakyamuni.
After becoming a Buddha, he traveled throughout the Ganges basin to teach sentient beings to awaken, take refuge and practice, eliminate ignorance, and eliminate suffering in order to attain the path of Nirvana.
At the age of 80, he passed into nirvana in Kushinagar, India. After the Buddha passed away, Mahakashyapa took the Buddha's place to lead the sangha and recite the teachings the Buddha had expounded. Buddhist history regards this as the first council of the community. From then on, Buddhism divided into two schools, Mahayana and Theravada, and spread to neighboring regions, becoming one of the three major religions in the world. Through periods of councils, Buddhism sometimes flourished and sometimes declined, passing the lamp and transmitting the lineage.
According to 越 南 佛 教 使 畧 (Việt Nam Phật giáo sử lược) the 28th patriarch was Bodhidharma, who went from India to China to transmit the Dharma and then passed it on to later patriarchs. From China, Buddhism was introduced into Vietnam. In China at that time, Venerable Tì Ni Đa Lưu Chi came to Vietnam and became the first patriarch of the Zen school, later transmitting to Patriarch Pháp Hiền.
During the Tang occupation (820), Venerable Vô Ngôn Thông came and established the second Zen school in Vietnam. Next came the Thảo Đường, Tào Động, Lâm Tế, and Trúc Lâm Yên Tử schools, among others.
After Buddhism was introduced into Vietnam, through the Đinh, Lê, Lý, and Trần dynasties, Buddhism at times became the state religion, then declined and later flourished again.
In the course of the nation's historical development, Buddhism has existed alongside as one of the universal religions of our country, creating spiritual balance in life. Therefore, pagodas worshipping Buddha were built and developed.
Thế Trụ Pagoda (Khánh Hưng Temple), in Thế Trụ Village, former Kiều Phú Commune, is also one of the pagodas founded with such meaning. The pagoda came into being to meet the religious and belief needs of the people. It was built to spread the Buddha's teachings, encourage good and deter evil, educate people in humanity and righteousness, to live well in life and beautifully in the Way, and to create blessings for the future.
2. Characteristics of the relic
Thế Trụ Pagoda (Khánh Hưng Temple) was built long ago to worship Buddha according to the Mahayana sect. Through its existence to the present, the pagoda, together with the village's communal house, temple, and shrine, has become a cultural work serving the religious and belief needs of the people. People come to the pagoda to worship Buddha, vowing to contribute merit to build and embellish the pagoda so that it becomes increasingly spacious and worthy.
Preparing scientific records for the relic, identifying and assessing the relic's values, and orienting restoration, embellishment, and promotion of the relic's values are necessary, contributing to better preserving, protecting, and promoting the relic's values.
023. Revolutionary and resistance events
Continuing the patriotic tradition of the people of the whole country in general and Kiều Phú Commune in particular, during the two resistance wars against France and against the United States
4. General introduction to the scope, scale, overall layout of the relic, and the environmental landscape of the relic area; general assessment of the technical condition of the relic, clearly stating the level of damage and deterioration of the relic, and the status of violations of the relic (if any)
Originally, Thế Trụ Pagoda (Khánh Hưng Temple) still stands in its present location; the architecture was small and severely deteriorated. In 1980 the pagoda and communal house were dismantled and part of the land was sold to rebuild the communal house and pagoda. During the resistance war, the pagoda was used to build shelters for guerrillas and as a school for students during the resistance against France. By 1992, the local people contributed labor and money to rebuild the pagoda as it is today. In 2023, a lecture hall was continued to be built in front of the forecourt with a steel frame and plastic ceiling. The upper sanctuary item was extensively renovated on February 26 of the Nhâm Thân year (1992).
Thế Trụ Pagoda is a place of Buddha worship according to the Mahayana sect, facing south together with the grounds of Thế Trụ communal house and văn chỉ. In front are the communal house and văn chỉ, and around are clustered residents. The pagoda is structured in the shape of the character Đinh, including items such as: lecture hall, forecourt, upper sanctuary, Mother shrine, and other auxiliary works.
035. Detailed description
045.1. Lecture hall
The lecture hall is the item in front of the forecourt, made of a steel frame with a plastic ceiling. Originally the lecture hall was made of wood but had deteriorated. Therefore, the local people rebuilt it as it is today.
In this item, worship objects are arranged such as: outside hangs a bell made of bronze, divided into four faces with Chinese characters inscribed, with a loop on top for hanging on a beam; the bell dates to the Thành Thái 10th year ( ) and a Ksitigarbha statue carved in a standing posture, wearing a Vairocana-style hat and holding a staff.
055.2. Forecourt
The forecourt is an item consisting of 3 bays built in the style of closed gable walls, roofed with di tiles, and floored with floral ceramic tiles. Through the door made of hinged wood, one enters inside. Here it is simply made with truss and crossbeam sets resting on the two ends of the walls. On the sets, the wood is planed smooth and fitted closely, leaning toward durability.
In the forecourt item, worship objects are arranged as follows: On both sides against the gable are arranged two altars. The altar on the left is the set of statues of Đức Ông - Diệm Nhiên - Đại sĩ. The Đức Ông statue is carved in a seated posture on a wooden pedestal in the center, depicted as a civil mandarin wearing a winged hat, red face, stern expression, long beard, and both hands placed on his lap. The Già Lam - Chân Tể statues are shaped as civil mandarins, carved seated on wooden pedestals on both sides of the Đức Ông statue. They wear hats, have long earlobes, and both hands rest on their knees, one holding a book and one holding a brush. They wear three-centimeter collar robes. The right altar is the Đức Ông altar carved in the posture. The right altar is the Sage altar. The statue is carved seated on a pedestal, wearing a beautiful Vairocana hat, long earlobes, kind face, draped in a yellow robe, both hands teaching the Dharma. The Già Lam - Chân Tể statues on both sides are carved seated on pedestals, with hands raised high; one has a blue face, and one hand is clenched on the knee. In addition, there are worship objects such as wooden drums, incense bowls, etc.
065.3. Upper sanctuary
The Upper Hall category consists of two longitudinal bays, with roofs not connected to the front hall; the ground plan is in the shape of the character “Đinh”, and the roof is in the shape of the character “Nhị”. It is built in the style of a gable wall with closed ends, and the roof is covered with traditional tiles.
The wooden trusses are uniformly made in the style of lower trusses and hanging braces. On the trusses, the wood is mainly planed smooth and fitted tightly, favoring durability.
At the Upper Hall, the ritual objects are arranged in ascending tiers from bottom to top as follows: In front, against the side walls, are statues of the Earth Deity and Giam Trai. The Earth Deity statue is carved in a seated posture on a concrete pedestal on the left when viewed from inside out, head wearing a hat, long white beard, hands placed on the thighs. The Giam Trai statue sits on a wooden pedestal on the right when viewed from inside out, head wearing a hat, wearing two layers of robes, hands in a preaching gesture before the chest.
Next is the central altar arranged in ascending tiers on concrete pedestals. The first tier is the set of Nam Tao - Bac Dau statues carved in a seated posture on a pedestal, heads wearing hats, wearing robes decorated with a tiger emblem on the chest and a phoenix holding a letter at the belly, hands placed on the knees, feet wearing boots. The second tier is a nine-dragon throne made of wood, lacquered and gilded, carved in an arc shape. Around it are carved small statues. In the center is the newborn Shakyamuni statue carved standing on a lotus pedestal within the nine-dragon throne, long earlobes, three neck folds, left hand pointing to heaven, right hand pointing to earth. The third tier is the set of Jade Emperor - Two Heavenly Kings. The Jade Emperor statue is carved seated on a central wooden pedestal, wearing a flat-heaven crown, long earlobes, long black beard, draped in a dragon robe, holding a seal before the chest with both hands. The Two Heavenly Kings are carved seated on either side of the Jade Emperor, wearing flat-heaven crowns, long earlobes, faces looking downward, holding command tablets before the chests, feet wearing boots. The fourth tier is the Maitreya - Snow Mountain set. The Maitreya statue is carved sitting naturally on a wooden pedestal, bald head, round smiling face, stout bare body, one leg crossed, one leg propped on the pedestal, one hand face down, one hand face up on the thigh. The Snow Mountain statue represents the Buddha during his ascetic practice but before attaining inner tranquility, with a pensive face seated on a lotus pedestal, hands resting on the knees, wearing a half-body robe, with protruding ribs, seated on a lotus pedestal. The fifth tier is the Amitabha - Guanyin - Mahasthamaprapta set. The Amitabha statue is carved in meditation on a two-layer lotus pedestal with one layer of upturned petals and one layer of downturned petals. Hair in snail-shell curls, two hands in mudra placed on the lap, the character Van exposed on the chest. The Guanyin and Mahasthamaprapta statues are carved standing in meditation on a three-layer lotus pedestal with downturned petals, the right foot exposed, heads wearing celestial crowns, right hand holding a lotus flower in front, left hand placed on the left foot. The sixth tier is the Three Ages set carved seated on lotus pedestals as the highest tier. Hair in snail-shell curls, hands placed on the thighs, legs crossed.
Against the side walls on both sides of the Upper Hall are arranged two altars: the altar on the right is the Cundi Guanyin altar, carved seated on a lotus pedestal placed on a high central pedestal, wearing a red hat, high nose, large long earlobes, legs folded round, hands clasped before the chest. The arms spread to both sides in various poses. The altar on the left is the Thi Kinh Guanyin altar; the statue is carved seated on a wooden pedestal, head wrapped in cloth, oval face, one bare leg and one leg lying face up, both hands placed face down on the thighs.
075.4, Mother's House - Ancestral House
The Mother's House - Ancestral House is a construction item located behind the Three Jewels Hall, with a “single” structure consisting of 5 bays built in the style of a gable wall with closed ends, roof covered with traditional tiles, floor paved with ceramic tiles.
Inside, the central truss structure is made in the style of “truss and lower brace”. On the trusses, the wood is mainly planed smooth and fitted tightly, favoring durability,
At the Mother's House - Ancestral House category, the ritual objects are arranged as follows: The central altar is arranged with the Three Holy Mothers; statues are carved seated on pedestals, heads wearing hats, oval faces, long earlobes, both hands placed face up on the knees. The altar on the left, from inside out, is the Duc Tran Trieu altar, carved seated on a wooden pedestal, wearing a winged hat, long earlobes, long black beard, both hands in a preaching gesture on the thighs. The altar on the right is the Ancestral altar, carved seated on a wooden pedestal, bald head, both hands placed on the thighs.
* Outside, in the courtyard in front of the Three Jewels Hall, two stone steles are arranged, one measuring 84 cm high, 50 cm wide, and 15 cm thick, and another measuring 102 cm high, 53 cm wide, and 14 cm thick. The stone steles bear the inscription Hau Phat bi ky; above is the stele head, and the four borders have a raised frame with Chinese characters in the center.
08Values of the relic site
096.1. Historical value of the relic site
Set in such a geo-cultural space, the presence of The Tru Pagoda (Khanh Hung Tu) at its current location serves as a historical testimony, marking the formation and development of a homeland rich in revolutionary tradition in the past, present, and future, contributing to promoting the cause of building an advanced Vietnamese culture imbued with national cultural identity in the spirit of Resolution 05 of the 8th Party Central Committee and the Conclusion of the 10th Conference of the 4th Party Central Committee on building and continuing to build and develop an advanced Vietnamese culture imbued with national cultural identity.
The Tru (Khanh Hung Tu) also contains traces of a secret tunnel used by guerrillas during the resistance war against the Americans. The Tru is one of the villages of Kieu Phu Commune and one of the places with outstanding people and sacred land in Hanoi City.
106.2. Cultural and scientific value of the relic site
Cultural values are creative values, expressing human capacities in the process of exploring and developing nature, which have been objectified and externalized in human activities and products. The cultural value of The Tru Pagoda (Khanh Hung Tu) also includes such inherent elements.
The presence of The Tru Pagoda (Khanh Hung Tu) today is a spiritual bright spot of the community in inherent coexistence, from which it spreads to everyone and every home so that they may enjoy a spiritual cultural space imbued with national cultural identity. Coming to The Tru Pagoda (Khanh Hung Tu) relic site, people seem to enjoy the sacred atmosphere and heroic spirit of our ancestors in the past, who once carried swords to protect the sacred borders of the fatherland, contributing to creating Vietnamese cultural identity.
116.3. Scientific value
During field research at the relic site, local elders said that The Tru Pagoda (Khanh Hung Tu) relic site is located near historical sites such as The Tru communal house and Van Chi, Van Khe communal house and pagoda, etc. These are traditional relics that have entered poetry, music, and painting in the region. From seemingly inert materials, folk craftsmen and contemporary artisans breathed soul into the relic, making it sacred. The image of The Tru Pagoda (Khanh Hung Tu) is always present in everyone's heart and in visitors' hearts when they visit and worship.
In terms of architecture, The Tru Pagoda (Khanh Hung Tu) is a traditional folk relic. It can be said that The Tru Pagoda (Khanh Hung Tu) was built, repaired, and embellished in the style of a traditional Vietnamese pagoda, demonstrating the inheritance of traditional architectural motifs with traditional materials, both solid and soft, while always preserving the ancient and solemn beauty of a purely traditional Vietnamese pagoda.
126.4. Aesthetic value of the relic site
The aesthetic value of the relic is an intrinsic value, including aspects such as technical-aesthetic value, value of figurative art, and thinking about the arrangement of relics.
After repair and embellishment, The Tru Pagoda (Khanh Hung Tu) has to some extent fully gathered such similarities. The traditional trusses, traditional materials, the arrangement of artifacts, the spatial landscape, etc. have been contained in this relic site, creating a purely Vietnamese relic.
